"In the Mood for Love is probably the most breathtakingly gorgeous film of the year,
dizzy with a nose-against-the-glass romantic spirit that has been missing from the
cinema forever. . . . As in Mr. Wong's film, yearning becomes the epoxy that holds
the material together. . . . This film is a sweet kiss blown to a time long since over,
a time that may have existed only in the movies, with ballads recorded in mono while
hand-sewn clothing lay perfectly over the bodies of the stars.
In the Mood for Love is just that."
- Elvis Mitchell, New York Times (September 30, 2000)
"In the Mood for Love has an exceptionally vivid sense of place. . . .
It is a memory piece, . . . not in the past, but rather the memory of the past and
the rendering of that memory in film. . . . What we see on the screen is less the
depiction of an extra-marital affair than of its remains as they are re-envisioned
and fetishized in the mind’s eye. . . . This film is not only a treatise on memory
but also on the art of acting."
- Amy Taubin, Sight and Sound (November 2000)
"The film exists in a near-constant state of ellipsis; a great deal is felt but
very little is said. Wong dances around the details of the initial adultery and
later sidessteps the issue of what – if anything – happens between Su and Chow.
Looks, gestures and even clothes stand in for what remains unspoken, with Wong
employing a subtle array of stylistic devices – organized around a structure of
ritual and repetition – to evoke repressed passion and wistful nostalgia. . . .
In the Mood for Love is sublime."
- David Cox, i-D (November 2000)